Woman With a Parasol – Claude Monet
Impressionism is one way of painting that 1860/70 was developed in France and spread throughout Europe. The name for this movement comes from the title “Impression, soleil levant” a picture by Monet, which was made available to the visitors at the first Impressionist exhibition in 1874. It is a time for those new and revolutionary act of painting, in which the color and the forwarding of the impression of the artist is paramount. In contrast to the studio painting of the 19th Century were in Impressionism content, structure and composition of the picture in favor of playing a perceived reality, and given a color expressed in atmosphere. In this context, the open-air painting came on, in which the effects of different light incident played a crucial role. The Impressionist style of painting was developed for Neo by unmixed primary colors are placed next to each other like a mosaic (Pointillism). Famous impressionist artists were among other Bazille, Manet, Monet, Pissarro, Sisley, Degas and Renoir. Cézanne and Van Gogh are also among the Impressionist artists. Both, however, overcame this style of painting with a new image or order a more expressive choice of colors so that they had a crucial role in the onset of the change of style around 1890 and they were together with Gauguin and Munch precursors of Expressionism. In Germany emerged as Impressionist painter above all Liebermann, Uhde, Slevogt and Corinth.
GEORGES SEURAT: “Sunday afternoon on the island of La Grande-Jatte”, 1884-86 - oil on canvas “Sunday afternoon on the island of La Grande Jatte” is Seurat’s most important masterpiece (he spent more than two years painting this huge canvas, creating more than 50 preliminary sketches and drawings), the best example of “pointillism” painting and a milestone of late 19th century Art.
MARY CASSATT: “Summertime”, 1894 - oil on canvas,
CHARLES CONDER: “A holiday in Mentone”, c.1888 oil on canvas, 46.2-60.8 cm. EDGAR DEGAS: “The dance class”, c.1874 oil on canvas, 83.2 x 76.8 cm
GUSTAVE CAILLEBOTTE: “Les raboteurs (The floor scrapers)”, 1876 - oil on canvas
CHILDE HASSAM: “The Avenue in the rain” - 1917. Oil on canvas - White House Museum
GUSTAVE CAILLEBOTTE: “Paris Street, rainy day” 1877 - oil on canvas
EDGAR DEGAS: “L’absinthe (absinthe drinkers)”, 1876 - oil on canvas, 92-68 cm
EDOUARD MANET: “Bar at the Folies Bergere”, 1882 PIERRE-AUGUSTE RENOIR: “Moulin de la Galette”, 1876 - oil on canvas, 131-175 cm.
PAUL CÉZANNE: “The Card Players”, 1893-96 - oil on canvas, 4756 cm.
Claude Monet Houses of Parliament, Sunset 1904 Oil on canvas.
Water Lilies, Evening Effect – Claude Monet
ARMAND GUILLAUMIN: “Soleil couchant à Ivry (sunset at Ivry)”, 1873 - oil on canvas,
PAUL GAUGUIN - “Mata Mua (in olden CLAUDE MONET – “Nympheas (water lilies)” - oil on times)”, 1892 - oil on canvas, 91-69 cm. canvas, 219-602 cm.
William Morris: Illustration from The Wood Beyond the World, 1894
The nature of a giant industrial dynamics of the 19th Century, evoked socially motivated counter-movements with their negative social impact (rural exodus, emigration, poverty, starvation, urban slums). The displacement of labor-intensive artisanal modes of production unleashed workforce that could not readily adapt to new mechanized forms of production. Industrial textile production large scale replaced the operated mostly in small in countless home workshops looms. This all happened in a time when it is celebrated as a major advance in Prussia, as the minimum age for miners was raised to nine years. A wave of reform movements came from England. In the second half of the 19th Century from there launched Arts & Crafts movement had set the goal of meeting the spiritual, moral and social consequences of structural change with a renewal of the craft ideal against machinery and industrialization. Their proposals are as momentous, but also ultimately unsuccessful attempt to evaluate, an international debate about the relationship of artistic interests in the industrial mode of production to put in motion. The protest was initially mainly against the loss of the artistic influence on the production of goods. Because the cheap manufactured everyday objects, which are now both stylistically and affecting the taste of the masses flooded the market, the reformers were an eyesore. Key driver was artist, designer and preservationist, William Morris (1834-1896), who advocated a return to solid craftsmanship solidity, material justice and dignified, as derived from natural materials design solutions. With its tradition and values committed belief “as a condition of life is all machine production of evil” he would encourage a revised look at the cultural significance of traditional production practices, - but as a result the products were due to their much higher costs outside of any competition. Morris’ quality requirements for commodities remained technically difficult to implement, given limited production capabilities at that time. Given a greatly expanding rational world of machines Morris is considered by many critics as the world also romantics, who was a losing battle. Nevertheless, together with Morris, John Ruskin (1819-1900),
and therein lies its importance to product design, indisputably regarded as the intellectual spearhead of a social obligation of producing, mainly because he products are not isolated to the monetary benefits of their production, but in the complex human production and use context considered. Two involved the wholeness of production processes and the use of human things. Therefore by no means should the charisma of their suggestions and criticisms are considered inconsequential. “Morris sparked a wave of reforms, which later also reached Germany, where industrialization had begun only after the founding of the Reich in 1871. The German manufacturer realized that well-designed industrial goods were an important economic factor: One studied the English education system, only to reform the art schools. An entire generation of painters now understood the applied arts as the most important task. The Dresden workshops (1898), whose machinery Furniture Richard Riemerschmid had designed, are the best known example of numerous workshops ups on German soil. In 1903 Austria , the most important representatives of Josef Hoffmann and Koloman Moser .In Germany especially Gottfried Semper (1803-1879 ) for the propagation of new, practical and technically oriented design forms and a reform of commercial art.
The beautiful embroidered binding on Cardiff’s copy of “The Floure and the Leafe” published by the Kelmscott Press
Riemerschmid chair in 1898
Brer Rabbit Wallpaper,designed by William Morris
Nature (flower) as reference subject, rendered in warm hues, include borders
Similar to William Morris’ Arts and Crafts movement in England, the Art Nouveau movement of the late 1800’s and early 19th century attempted to eradicate the dividing line between art and everyday objects. It was a way of thinking about modern society and new production methods. The urban life as we now understand it was established. Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas. It was an attempt to redefine the meaning and nature of the work of art. Art Nouveau designers also believed that all the arts should work in harmony to create a “total work of art,” in an attempt to combine life and art. Art Nouveau is characterized by its elegant decorative style, detailed patterns, curving lines, and art innovation.It obtained a nickname ‘the noodle style’ in French, ‘Le style nouilles’. By making beauty and harmony a part of everyday life, artists make people’s lives better. Art Nouveau emphasized handcrafting as opposed to machine manufacturing, the use of new materials. Its artifacts are beautiful objects of art, but not necessarily very functional..
The leading artists of the time designed wallpaper (Edward BurneJones), metro stations (Hector Guimard) and Alphonse Mucha, heralded as the inventor of the “art nouveau style,” created advertisements for champagne.
Art Nouveau stamp
Disney Art Nouveau inspired images
Art Nouveau Poster
The Jugendstil movement is the name of an artistic Renaissance that appeared around the mid 1890s in southern Germany. This emerging art was artistically elegant and stylistically revolutionary. The Jugendstil artists and designers were concentrated around Munich, and while their work stylistically appeared similar to that of the French Art Nouveau of the fin de siècle era, in essence their art was authentic both in terms of it aesthetics and also its Teutonic themes and mythology.The movement was strongly supported by “Die Jugend” an art magazine which extensively employed the graphic designs and illustrations of the Jugendstil movement, including black and white and tinted illustrations, hand lettering and even architectural and furniture design in many ways similar to the traditions of the Arts and Crafts movement.The style continued up until 1910. Art historians agree that there are essentially two phases found in the Jugendstil movement: Floral Jugendstil (the earliest phase, circa 1895 to 1900), drawing inspiration from British Art Nouveau and Japanese art / prints. Abstract Jugendstil (the later phase, circa 1901 to 1910), which was influenced by the Viennese work of the Belgian architect and designer Henry van de Velde.
Cover of Jugend Magazine, 1916, No 1
Cover design for Jugend Magazine, 1896
L’Heure du Berger, 1900s
Klinger's posters were sophisticated, enigmatic and aesthetically stunning.
An advertisement for a vegetarian restaurant in Berlin. 1900
Jugendstil typefaces: Eckmann-Schrift designed by Otto Eckmann in 1900
Plakatstil ,or sachplakat (means”poster style” in German), was an early poster style of art that began in the early 1900s and originated out of Germany.There were two schools of Gebrauchsgrafik in Germany at the time, Ludwig Hohlwein in the southern city of Munich and Lucian Bernhard in the northern city of Berlin were the leaders of the new movement. This style of art is characterized by usually bold, straight font with flat colors. Shapes and objects are simplified while the subject of the poster remains detailed. Plakatstil incorporated color combinations not seen in other art forms such as Art Nouveau.The Plakatstil became very influential and had a considerable following on the graphic design scene in Germany.
Ludwig Hohlwein posters
Lucian Bernhard posters
Ludwig Hohlwein
The poster for "Salamander Shoes"by Ernst Deutsch-Dryden
Max Hertwig (1881-1975
Bügen & Co. packages by Max Hertwig
Hans Rudi Erdt (1883- 1918 )
Max Hertwig (1881-1975)
On 19th May, 1903 The Wiener Werkstätte (German for The “Vienna Workshop”) was registered in Vienna as “Productivgenossenschaft von Kunsthandwerkern” on 19th May, 1903. The founders of The Wiener Werkstätte was Josef Hoffmann and Koloman Moser, both members of the Vienna Secession wanted to provide an outlet for graduates from the Kunstgewerbeschule. The workshop was involved in jewellery making, the production of fabrics for dressmaking, the construction of furniture, ceramics and other art forms which could be incorporated into daily life. Josef Hofmann incorporated these designs into his architectural projects. In 1905, Hoffmann, Klimt and other Wiener Werkstätte artists, designed and built for the Belgian industrialist Mr Stoclet, the magnificent Palais Stoclet, in Brussels, the Capital of Art Nouveau and city of Victor Horta. The Wiener Werkstätte aimed at pursuing elegance, a reduced vocabulary of form, functionality and appropriateness, which stood in contrast to the pronounced imitation of styles of Historicism. The result were : simplified shapes, geometric patterns, and minimal decoration characterising the Wiener Werkstätte products. The majority of designs was supplied by famous artists, including Carl Otto Czeschka, Josef Hoffmann, Bertold Löffler, Dagobert Peche, and, of course, Koloman Moser. Constantly struggling with its weak financial situation, the Wiener Werkstätte was finally closed down in 1932 and deleted from the commercial register.
Wiener werkstätte exhibition poster by Josef Hoffmann Dagobert Peche, Poster 1919
Merry Christmas! (Fröhliche Weihnachten!) Mela Koehler (Austrian, Vienna 1885–1960 Stockholm) Publisher: Published by Wiener Werkstätte
Advertising for Wiener werkstätte textile department. By F. Bruckmann
Wiener werkstätte pamphlet
Dagobert Peche, Poster 1919
Wiener werkstätte – Deutsche Kunst und Dekoration advertising 1905
Happy Easter! (Frohe Ostern!) Mela Koehler (Austrian, Vienna 1885–1960 Stockholm) Published by Wiener Werkstätte
Wiener Werkstätte advertising , I. Kärntnerstr. 41 v. 32, Wien, April 1928
Wiener Werkstätte advertising card
Wiener Werkstätte, Wien VII, Döblergasse 4
Early 20th-century futurism art movement, centred in Italy, that embraced what we now bemoan about modern cities: the pollution, the chaos, as well as modern technology (which at the time included trains and automobiles rather than computers), celebrated the dynamism, speed, and power of the machine and the vitality and restlessness of modern life. The term was coined by Filippo Marinetti, who in 1909 published a manifesto glorifying the new technology of the automobile and the beauty of its speed and power. In 1910 Umberto Boccioni and others published a manifesto on painting. They adopted the Cubist technique of depicting several views of an object simultaneously with fragmented planes and outlines and used rhythmic spatial repetitions of the object’s outlines in transit to render movement. Their preferred subjects were speeding cars and trains, racing cyclists, and urban crowds; their palette was more vibrant than the Cubists’. With Boccioni, the most prominent Futurist artists were his teacher, Giacomo Balla (1871–1958), and Gino Severini (1883–1966). Boccioni’s death in 1916 and World War I brought an end to the movement, which had a strong influence in postrevolutionary Russia and on Dada.
Boccioni's The street invades the house
Futurism Art Movement - Umberto Boccioni 'Unique Forms Of Continuity In Space' 1913
Futurist painting – Severini’s Armoured Train
Futurism Art Movement - Umberto Boccioni 'The Street Enters The House' 1911 Futurist Painting: Balla, after his Futurist phase
Gino Severini, The Dance of the Pan-Pan at the “Monico” (1909-1911) Futurist Painting: Carra
Dada was a literary and artistic movement born in Europe at a time of World War I.Dada began in Zurich and ended in Paris, and locations of Dada artists were influenced directly by the war; many artists were refugees. Certain artists such as Francis Picabia and Tristan Tzara seem to have been part of almost all Dada centers, and the internationality of Dada is evident in its ability to draw artists together across countries. Using an early form of Shock Art, the Dadaists thrust mild obscenities, scatological humor, visual puns and everyday objects (renamed as “art”) into the public eye. Marcel Duchamp performed the most notable outrages by painting a mustache on a copy of the Mona Lisa.He was displaying his sculpture entitled Fountain (which was actually a urinal, sans plumbing, to which he added a fake signature). The conscious act of breaking away from convention made Dada a generous predecessor for Surrealism and any other radical art movements to follow the early 20th century.
Arp: Squares Arranged According to the Laws of Chance, 1916-17
Marcel Duchamp - Nude Descending a Staircase - 1912
Francis Picabia - The Dada Movement
Marcel Duchamp and his bicycle wheel - 1913/1964
Hannah Höch: Cut With the Kitchen Knife
Marcel Duchamp - La Mariée mise à nu par ses célibataires, même - 1915-1923 Marcel Duchamp - Fountain - 1917
The Blind Man n° 2 New York, May 1917
Raoul Hausmann: The Art Critic (Der Kunstkritiker - 1919-20)
Art Deco was an art movement that lasted from the 1920s until around 1940. It began in France with a group of French decorators, designers, and artists at an event called Exposition Internationale des Arts Décoratifs et Industriels Modernes—the name Art Deco was later coined from that title. Art Deco was a very “modern” movement, celebrating the beauty of technology in the early 20th century. Art Deco contains many references to trains, planes, cars, and skyscrapers, mixing art with scientific advancement. The human figures in Art Deco style are often very stylized, like in a painting by Tamara de Lempicka entitled Sleeping Woman. In a society where technology and machines were being increasingly idolized, it’s no wonder that artists began portraying perfected humans, with matte skin, sculpted features and precious metal for hair.Bold colors, rays, and other strong geometric patterns were a trademark of Art Deco too.
Tamara de Lempicka, The Musician. Michael Kungl, Americana Deco Coffee
A.M. Cassandre, Pivolo
painting by Tamara de Lempicka entitled "Sleeping Woman" Every part of this painting is a geometric solid—the figure’s head looks like it was carved out of a single sphere, and her neck, arms, and fingers are all cylindrical.
Art Deco – the construction of the Eiffel Tower by Jean Dunand
Charles Delmuth’s I Saw the Figure Five in Gold is a great example of Art Deco movement, geometry, and color
Clarice Cliff, ‘Tennis’ vase circa 1930
Constructivism – the direction the 1920s Russian art.Constructivism has set itself the task of environmental engineering. They sought to understand the possibilities of new technology, the consistency of the appropriateness of design, as well as metal, glass and wood aesthetic possibilities. Luxuries they tried to set off against the new forms of simplicity. Constructivist architecture was formulated theoretical principles of A. Vesnina and M. Ginzurgo theoretical languages . In practice, these principles have been used for the first time brothers Vesnina “The House” project in Moscow (1923). 1924 was a constructivist creative organization – OSA, whose representatives have discovered a functional design approach Constructivism has influenced the aesthetics of artistic design appearance. Constructivist-based activities have been developed for use in convenient new dinnerware, furniture types. Constructivism had a significant impact on the banner graphic and book design development. Some of the ideas of constructivism has been used in western European fine art. The term “constructivism” in Western art is relative: it describes the architecture of one of the functional movements which sought to highlight the expression of contemporary design, painting and sculpture – one of the avant-way, using an early constructivist ideas. Soviet constructivism is a modern art movement that began around 1913. Constructivist art, theatre and exhibitions were produced by a group of avant-garde artists in Moscow, Odessa and St. Petersburg. Constructivist art began with works of primarily abstract constructions. Constructivism was founded by an artist/ architect named Vladimir Tatlin. It was his work with materials that inspired the Constructivist movement in architecture and design.Constructivist art is characterized by a total abstraction and an acceptance of everything modern. It is often very geometric, it is usually experimental, and is rarely emotional. Objective forms and icons were used over the subjective or the individual. The art is often very simple and reduced, paring the artwork down to its basic elements. Constructivist artisits often used new media to create their work.
Alexander Rodchenko's poster for Battleship Potemkin.
Bauhaus is a German word that means as “House of building”. This a school founded in Weimerin(Germany)1919,by Walter Grupius in 1919.They where similar to the direction of Art Nouveau in the way the decorative arts and applied arts were all included.The Bauhaus style, also known as the International Style, was marked by the absence of ornament and ostentatious facades and by harmony between function and the artistic and technical means of manufacture With fears of art losing purpose in a changing society and manufacturing becoming plain and boring the school was envisioned to reunite art and manufacturing under one roof solving both problems.Everything to what art and design related was taught from colour, typography and photography to industrial design, interior design and architecture.The need for the Bauhaus school was great with Germany being bankrupt after WW1 and the younger generation was ready to make changes for the better. This school was a great way for the youths to make a difference in rebuilding and influence Germany in this new vision. Early in the Bauhaus movement they resembled a feel of a medieval crafts guild that built the cathedrals with influences from romanticism . The principles of the Bauhaus, based on those of the 19th-century English craftsman and writer William Morris and the Arts and Crafts Movement, were that art should meet the needs of society and that no distinction should be made between fine arts and practical crafts.However by the mid 1920′s this was fading and Bauhaus was recognised for uniting art and industrial design. Even though the school existed for a short period of time the link of art with technology and society had major effects throughout Europe and the United States.
J. Schmidt, Bauhaus
Kandinsky, On White II. Paul Klee, Castle and Sun.
Gelb Rot Blau by Wassily Kandinsky
Schlangenbeute c.1926 by Paul Klee
In the 1920s and 1930s,New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Taking his lead from currents in Soviet Russia and at the Weimar Bauhaus, the designer Jan Tschichold codified the movement with accessible guidelines in his landmark book Die Neue Typographie (1928). Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements. This installation of posters and numerous small-scale works is drawn from MoMA’s rich collection of Soviet Russian, German, Dutch, and Czechoslovakian graphics. They represent material from Tschichold’s own collection, which supported his teaching and publication from around 1927 to 1937.
Jan Tschichold. Die Frau ohne Namen. 1927.
In the early 1920’s a group of architects and artists, influenced by some of the ideas of DaDa, formed a movement called de Stijl (Dutch for “The Style”).They had an utopian philosophical approach to aesthetics, centered in a publication called de Stijl, which presented their ideas and designs. The founder of the publication and leader of the group was an architect,Theo van Doesburg. Other important participants were Gerrit Rietveld and Piet Mondrian. The most important thing about this group was their ideas, since they managed to build very few of their designs. One important exception is Gerrit Rietveld’s Schroeder House, which is the most complete realization of the de Stijl aesthetic. De Stijl was about pure abstraction and simplicity — form reduced to the rectangle and other geometric shapes, and color to the primary colors, along with black and white.Adopting the visual elements of Cubism and Suprematism, the anti-sentimentalism of Dada, ,De Stijl aspired to be far more than mere visual artists.To this end, De Stijl artists turned their attention not only to fine art media such as painting and sculpture, but virtually all other art forms as well, including industrial design, typography, even literature and music. De Stijl’s influence was perhaps felt most noticeably in the realm of architecture, helping give rise to the International Style of the 1920s and 1930s.
Theo van Doesburg's 'Simultaneous Counter-Composition' (1929-30)
"Composition" (1917-18) by Georges Vantongerloo, another founder of the De Stijl movement.
Red and Blue Chair designed by Gerrit Rietveld in 1917
de stijl magazine
Composition of Red, Blue, Yellow, and White: Nom II 1939
Cubism, the most distinctive movement of abstract art.It was born in the beginning of 20th century, and it quickly became a revolution in fine art.A name “Cubism” was suggested by Henri Matisse in 1909.Developed originally in France by Pablo Picasso(1882-1973)and Georges Braque(1882-1963) around 1906. They were greatly inspired by African sculpture, by painters Paul Cézanne (French, 1839-1906) and Georges Seurat (French, 1859-1891), and by the Fauves. Geometric shapes, vivid colors, simple figures, and textures are all distinctive features of this style.Pablo Picasso and Georges Braque, offered to use simple geometric shapes to depict any object. Analytic cubism (pre 1912) showed any object as a combination of monochrome primitive figures blended into background.An object, seen from various points of view, could be reconstructed,using particular separate “views” which over-lapped and intersected. On the contrast, Synthetic cubism(began around 1912), was much more colorful, and it started a technique of collage.Compositions were still static and centered, but they lost their depth and became almost abstract, although the subject was still visible in synthetic, simplified forms.Cubism influenced many other styles of modern art including Futurism in Italy, Vorticism in England, Suprematism and Constructivism in Russia, and Expressionism in Germany. It also influenced several of the major design and architectural styles of the 20th century.Cubism lasted till 1920s and had a profound effect on the art of the avant-garde.
A cubism painting by Pablo Picasso
Violin and Jug Georges Braque 1910
Factory, Horta de Ebbo', 1909
fernand leger woman with the cat1921 viaduct l'estaque Georges Braque
Picasso - Le pigeon aux petits pois 1911. Pablo Picasso, Portrait of Wilhelm Uhde, 1910
portrait of DanielHenry Kahnweiler 1910 by Georges Braque
Pablo Picasso (1881-1973) “Still Life With Mandolin And Guitar” violin and glass Juan Gris 1915
The Psychedelic art movement, which means “mind manifesting” was born in the beginning of the 1960s.It was visual design inspired by psychedelic experiences while the artists were on hallucinogenic drugs like LSD, psilocybin and mescaline.But psychedelic artists were also influenced by the Art Nouveau movement, Native American designs and certain Postimpressionist painters.The philosophy is similar to Surrealism, except that surrealism obtained inspiration from dreams, rather than from hallucinations. The art movement quickly spread worldwide. Soon psychedelic art spread to music, fashion, and then the whole 1960’s hippy culture. By the end of the sixties, the advertisers had caught on to the movement and used it to promote their products as a wide variety of products aimed at a huge youth market, everything from rock music to shampoo and soda pop. By the early ‘70s those images and colors had been further watered down and cleaned up for kitchens, bathrooms and bedrooms.Psychedelic art is characterized by bright, bold colors, art nouveau styles, incomprehensible typography, kaleidoscopic patterns and dream-like subject matters.Some of the best and mostfamous examples of psychedelic art are the ‘60s rock posters produced for San Francisco shows promoted by Family Dog and Bill Graham Presents, and created by artists such as Rick Griffin, Victor Moscoso, Stanley Mouse and Wes Wilson.Although psychedelic art was believed to exist only in the sixties, it has experienced a bit of a revival recently in both art and advertising.
Electric Prunes Psychedelic Poster 1967 at Endless Posters
Psychedelic Art of Audrey Hepburn by Andy Warhol
Fanta psychedelic ad Colorful psychedelic art by illustrator Douglas Bicicleta
Artist Bob Masse's poster for Cream's farewell concert in 1968.
Tiger Beer psychedelic ad
Leonora Carrington ”Awarningtomother”
Surrealism is a period in art history when artists create dreamlike paintings filled with mysterious objects or familiar objects that have been oddly changed in ways that you would not see in reality. Surrealism is a style of art where objects are realistically painted,but the way they are arranged or the way their shape is altered makes them look dreamlike, and therefore, beyond real.Surrealist artists changed objects into optical illusions and mysterious objects. A true precursor to Surrealist Art, Hieronymus Bosch (1450-1516) was perhaps five hundred years ahead of his time.He created dream-like worlds, overflowing with intricite details and religious symbolism. Pieter Bruegel (1525-1569),another precursor to Surrealism. His two most important canvases may be The Triumph of Death (1562) and Mad Meg (1562). The former portrays an army of skeletons attacking helpless villagers.Giuseppe Arcimboldo (1527-1593),was an Italian artist best known for his portaits of heads comprised of unusual objects.Air, Fire, Earth and Water (1566-70), contains portraits comprised of birds, fire, animals and fish,Adam and Eve (1578), whose profiles are made of naked children. It wasn’t until the 20th Century that Arcimboldo was rediscovered by the Modernists and Surrealists.We see echoes of Arcimboldo in the work of Pablo Picasso, George Grosz, Rene Magritte and, especially, Salvador Dali. Surrealism was officially founded in 1924, when André Breton wrote Le Manifeste du Surréalisme. Surrealism was the positive response to Dada’s negativity.powerfully influenced by Sigmund Freud, the Surrealists believed the conscious mind repressed the power of the imagination, weighting it down with taboos. Influenced also by Karl Marx, they hoped that the psyche had the power to reveal the contradictions in the everyday world and spur on revolution. The exploration of the dream and unconsciousness as a valid form of reality, inspired by Sigmund Freud’s writings.A willingness to depict images of perverse sexuality, scatology, decay and vio-
lence.The desire to push against the boundaries of socially acceptable behaviors and traditions in order to discover pure thought and the artist’s true nature. Some artists practiced organic, emblematic, or absolute Surrealism, expressing the unconscious through suggestive yet indefinite biomorphic images (e.g., Jean Arp, Max Ernst, André Masson, Joan Miró). Others created realistically painted images, removed from their context and reassembled within a paradoxical or shocking framework (Salvador Dalí, René Magritte).Though the Surrealist movement was officially founded in 1924, the term was first coined in 1917, when Guillaume Apollinaire used it in program notes for the ballet Parade, written by Pablo Picasso, Leonide Massine, Jean Cocteau, and Erik Satie. The greatest known Surrealist artist is the world famous Salvador Dali(1904-1989).A Spanish artist and writer, Dali joined the Paris Surrealists in 1929.His paintings capture the dream state in a remarkably realistic way, overflowing with Freudian symbolism, unrestrained sexual desires and childhood memories.His images, often containing hidden figures and double meanings.Great attention paid to elements of Nature - the earth, sky, clouds, water, pebbles, insects, animals, fruit,mysterious landscapes and melting objects.Among his many masterpieces are The Lugubrious Game (1929), The Great Masturbator (1929), The Bleeding Roses (1930), The Persistence of Memory (1931), The Phantom Cart (1933) and Atavistic Vestiges After the Rain (1934).
Mirage Oil Painting by Salvador Dali
“Swans Reflecting Elephants” (1937) The Persistence of Memory This is the best known painting by Salvador Dalí. After entertaining guests in the evening, Dalí sat at the table looking upon the soft, half melted Camembert cheese. Suddenly the idea of melting watches came to him and he immediately got to work. During this time Dalí's life he was influenced by Freud, and dream analysis was an active ingredient in Dalí's paintings. He was also impressed by Einstein's conclusion that time is relative and not rigid. Current location: Museum of Modern Art, New York City
Surrealist Eye Rene Magritte”The Son of Man”
“Golconda” by Rene Magritte Max Ernst, Two Children Are Threatened by a Nightingale, 1924 Galatea of Spheres Oil Painting by Salvador Dali “Sleep” (1937)
“Woman with a Flower”, 1932 by Pablo Picasso By the mid 1920s, Picasso had become overbearingly famous. He did not like the fact that all of his work was always revered, simply because of his fame. He became frustrated and his marriage became strained, beginning a whirlwind of divorce, mistresses and illegitimate children. He took up sculpting at this time, and became highly influenced by newfound Surrealism after 1927. Surrealist influence can be seen in one of his best known paintings Woman with a Flower.
Andy Warhol, Diamond Dust Shoes, 1980
The Elephants, 1948.
Pop art is a movement most associated with the work of New York artists of the early 1960s such as Andy Warhol,James Rosenquist, Roy Lichtenstein and Claes Oldenburg. Following the Abstract Expressionist and Neo-Dada movements,Pop art has become one of the most recognizable styles of modern art.It was the visual art movement that characterised a sense of optimism during the post war consumer boom of the 1950’s and 1960’s. It coincided with the globalization of pop music and youth culture, personified by Elvis and the Beatles. Pop Art was brash, young and fun and hostile to the artistic establishment. It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in mass-media, mass-production and mass-culture.The Dadaists had created irrational combinations of random images to provoke a reaction from the establishment of their day. British Pop artists adopted a similar visual technique but focused their attention on the mass imagery of popular culture.Richard Hamilton’s collage of 1956, ‘Just What Is It That Makes Today’s Homes So Different, So Appealing?’ is the ultimate catalogue of pop art imagery: comics, newspapers, advertising, cars, food, packaging, appliances, celebrity, sex, the space age, television and the movies.Pop art in America evolved in a slightly differently than British. American Pop Art was both a development of and a reaction against Abstract Expressionist painting.Picasso had done something similar forty years previously when he collaged “real world” printed images onto his still lifes, as he feared that his painting was becoming too abstract.Andy Warhol was one artist who personified Pop Art most. He originally worked as a ‘commercial artist’ and his subject matter was derived from the imagery of mass-culture: advertising, comics, newspapers, TV and the movies.Warhol embodied the spirit of American popular culture and elevated its imagery to the status of museum art.Roy Lichtenstein developed a pop art style that was based on the visual vernacular of mass-communication: the comic strip.•Pop Art included different styles of painting and sculpture but all had a common interest in mass-media, mass-production and mass-culture.
'Marilyn', Andy Warhol. 1961
ROBERT RAUSCHENBERG (1925- 2008) 'Retroactive 1', 1964 (oil and silkscreen on canvas)
RICHARD HAMILTON (1922- 2011) 'Just what is it that makes today's homes so different, so appealing?' 1956 (collage)
The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland.It emphasizes cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element in addition to its use in text, and it is for this that the style is named.This style in art, architecture and culture became an ‘international’ style after 1950’s and it was produced by artists all around the globe.As a consequence of this principle, most of the Swiss Style craft is devoted to the minimal elements of style such as typography and content layout rather than on textures and illustrations.Despite that, people still refer to it as the Swiss Style or the Swiss Legacy.
Emerging from the modernist and constructivist ideals, the Swiss Style can be defined as an authentic pursue for simplicity
It’s very common to spot the use of font-size contrast in the works of the Swiss Style.
Graphis Diagrams
Karl Gerstner: Review of 5×10 years of graphic design
Swiss modern graphic design for the chemical industry
Swiss graphic design publication at the time, dedicated a big part of its content to photography and its application in design.
The punk subculture is a subculture that is based around punk rock. It emerged from the larger rock music scene in the mid-tolate-1970s in the United Kingdom, the United States, Canada and Australia. The punk movement has spread around the globe and developed into a number of different forms. Punk culture encompasses distinct styles of music, ideologies, fashion, visual art, dance, literature, and film. Punk also lays claim to a lifestyle and community.The punk scene is composed of an assortment of smaller subcultures, such as Oi! and pop punk. These subcultures distinguish themselves through unique expressions of punk culture. Several subcultures have developed out of punk to become distinct in their own right, including hardcore, goth and psychobilly. The punk movement has had a tumultuous relationship with popular culture, and struggles to resist commercialization and appropriation.Punk aesthetics determine the type of art punks enjoy, usually with underground, minimalistic, iconoclastic and satirical sensibilities. Punk artwork graces album covers, flyers for concerts, and punk zines. Usually straightforward with clear messages, punk art is often concerned with political issues .
"A Street in Bastia"by Auguste Herbin
Fauvism was the first twentieth-century movement in modern art. Inspired by the examples of van Gogh, Gauguin, Seurat, and Cézanne, it grew out of a loosely allied group of French painters with shared interests. Henri Matisse was eventually recognized as the leader of Les Fauves, or “The Wild Beasts,” and like the group, he emphasized the use of intense color as a vehicle for describing light and space, as well as for communicating the artist’s emotional state. In these regards, Fauvism proved to be an important precursor to Cubism and Expressionism, respectively, and an inspiration for future modes of abstraction. Fauvism today is defined as a short-lived movement of early Modernist art which emphasized paint itself and the use of deep color. Fauvists strongly believe in the power of color as an emotional force.
Andre Derain,Turning Road,1906,France
Maurice de Vlaminck, The River Seine at Chatou,
Henri Matisse, Portrait of Madame Matisse Henri Matisse. Woman with a Hat, 1905
"A Woman Sitting before the Window" Henri Matisse
Les Demoiselles d'Avignon. The two figures on the right are the beginnings of Picasso's African period.
André Derain, Self-portrait in the Studio
Charles Camoin, La Petite Lina 1907
Henri Matisse”Algerian Woman”
The term “Primitivism�, which emerged in fine art during the late 19th-century, is used to describe any art characterized by imagery and motifs associated with such primitive art. Marked by ethnographic forms, often of great visual power, this artistic primitivism dates from the 1890s when it appeared in the Tahitian paintings of Paul Gauguin (18481903), and quickly led to a trend among French and German artists of the Expressionist avant-garde.From 1906 onwards, dealers like Paul Guillaume, as well as artists like Matisse, Picasso, Derain and Braque, began buying African tribal masks and figurines. As a result, the influence on both painting and sculpture became quite noticeable in Paris after 1907, and in Berlin, Dresden and London after 1912. By 1920 it had become virtually universal, and continued until the early 1930s when Oceanic, Indian and Eskimo art became a leading source of inspiration for the Surrealists and their followers. The impact of African, Oceanic, Aboriginal and other primitive art on Western artists continues to this day in number of forms including painting, sculpture, assemblage, body art (face painting and body painting), and others.
Henri Rousseau, In a Tropical Forest Combat of a Tiger and a Buffalo, 1908-1909
Paul Gauguin. Spirit of the Dead Watching, 1892
The Old Farmer (1903) Kunsthalle, Hamburg. One of many primitivist portraits Paul Gauguin.
Van Gogh . Rugged textures of the floor, body and chair and elsewhere make the pain of Old Man in Sorrow, 1890, seem very real Amedeo Modigliani "Chaim Soutine"1916
Expressionism is a term that embraces an early 20th century style of art, music and literature that is charged with an emotional and spiritual vision of the world.In part a reaction against Impressionism and academic art, Expressionism was inspired most heavily by the Symbolist currents in late nineteenthcentury art.Expressionism is associated with Northern Europe in general and Germany in particular.At the end of the 19th century, this Expressionist spirit resurfaced in the paintings of two awkward and isolated personalities – one was the Dutchman, Vincent Van Gogh and the other a Norwegian, Edvard Munch. While the Impressionists were admiring the colour and beauty of the natural landscape, Van Gogh and Munch took a radically different perspective. They chose to look inwards to discover a form of “selfexpression” that offered them an individual voice in a world that they perceived as both insecure and hostile. It was this more subjective search for a personal emotional truth that drove them on and ultimately paved the way for the Expressionist art forms of the 20th century that explored the inner landscape of the soul.
Ernst Ludwig Kirchner (1880-1938)'Davos Under Snow', 1923 (Oil On Canvas)
"The Storm" by Edvard Munch
"Maskenstilleben (Masks Still Life)," watercolor on paper, 1911, Emil Nolde
VINCENT VAN GOGH (1853-1890) 'Sunflowers', 1888 (oil on canvas) Paintings like Van Gogh’s ‘Sunflowers’
EDVARD MUNCH (1863-1944) 'The Scream', 1893 Munch’s painting of ‘The Scream’ was equally influential. It provides us with a psychological blueprint for Expressionist art: distorted shapes and exaggerated colors that amplify a sense of anxiety and alienation.
Jackson Pollock & Willem de Kooning - Jack and Bill
During World War II was, the artists such as Paul Klee, Marcel Duchamp, Piet Mondrian and Max Ernst, left Europe for the safety of the USA and extended their artistic influence. It is impossible to estimate how much they affected American art, but the fact remains that in the 1940s and ‘50s, for the first time, American artists became internationally important with their new vision and new artistic movement, known as Abstract Expressionism.The movement emerged in New York City during the mid-1940s It was the first important school in American painting to declare its independence from European styles . Like many other modern movements, Abstract Expressionism does not describe any one particular style, but rather a general attitude; not all the work was abstract, nor was it all expressive. What these artists did have in common were morally loaded themes, often heavyweight and tragic, on a grand scale. In contrast to the themes of social realism and regional life that characterized American art of previous decades, these artists valued, above all, individuality and spontaneous improvisation. They felt ill at ease with conventional subjects and styles, neither of which could adequately convey their new vision. In fact, style as such almost ceased to exist with the Abstract Expressionists, and they drew their inspiration from all directions.The painters who came to be called ``Abstract Expressionists’’ shared a similarity of outlook rather than of style-- an outlook characterized by a spirit of revolt and a belief in freedom of expression.The best known artists of this movement are Jackson Pollock, Willem de Kooning and Mark Rothko.
Untitled, ca. 1948–49 Jackson Pollock
Symphony No. 1, The Transcendental, 1941–42 Richard Pousette-Dart
No. 13 (White, Red, on Yellow), 1958 Mark Rothko
The Glazier, 1940 Willem de Kooning
Chris Burden | Dreamer's Folly (2010) Willem de Kooning's 'Painting 1948'
Conceptual Art became a major modern art and contemporary art movement in the 1960s and 1970s.Conceptual art was all about free thinking. The belief was that the power of art is behind the thinking notnecessarily the finished article. This evolved into a way of thinking that emphasised the free thinking of art and to look everywhere and anywhere for ideas. In conceptual art, any idea is a good idea.The approach to conceptual art was revolutionary and almost the antithesis of traditional art movements and even most modern art movements.The idea of careful thought behind the creative process with less regard to the execution was a revolution within the art world and quickly gained many opponents and enemies to the idea of it even being art at all but instead, closer related to philosophy.An example of conceptual art from the height of the modern art movement is Joseph Kosuth’s ‘One and Three Chairs’ (1965).Conceptual Art was one of the largest and quickly undertaken movements in the 20th century. Great numbers of exhibits exist as a consequence of the conceptual art movement.The best known conceptual artists are Robert Barry, Joseph Kosuth, Chris Burden, Mel Bochner,Vito Acconci.
Joseph Kosuth, One and Three Chairs (1965)
'Crash', photointaglio, aquatint, relief and shaped embossing by Acconci, 1985
Black Square by Kasimir Malevich (1915) Minimalism is all about reduction and simplicity. The idea of the movement started when artist Kasimir Malevich created a 1913 artwork of a black square on a white background.
'City of Words', lithograph by Acconci, 1999
Massive Match-Box Car Kinetic Sculpture By Chris Burden
Minimal Art movement began in 1950s and continued through the Sixties and Seventies. It is a term used to describe paintings and sculpture that thrive on simplicity in both content and form, and seek to remove any sign of personal expressivity. The aim of Minimalism is to allow the viewer to experience the work more intensely without the distractions of composition, theme and so on. From the 1920s artists such as Malevich and Duchamp produced works in the Minimalist vein but the movement is known chiefly by its American exponents such as Dan Flavin, Carl Andre, Ellsworth Kelly and Donald Judd who reacted against Abstract Expressionism in their stark canvases, sculptures and installations. Minimalism is related to a number of other movements such as Conceptual Art in the way the finished work exists merely to convey a theory, Pop Art in their shared fascination with the impersonal and Land Art in the construction of simple shapes. Minimalism proved highly successful and has been enormously influential on the development of art in the 20th century.
Free Ride Sculpture by Tony Smith
Damien Hirst. The Virgin Mother
Starry Night
Sensationalism is an art movement created to describe the work produced by the YBAs (Young British Artists) who first arose during the 1980s. The movement is mainly concerned with creating controversy and utilising “shock value”to provoke audience reaction. Artists such as Damien Hirst and Tracey Emin have produced works that have channelled Conceptualism and caused outrage due to their controversial topics and almost lack of skill involved in their making. The artists are criticised as being “exploiters of mass media” as their work dominates headlines and sells for phenomenal amounts of money, despite their ready-made content. Often collected by and exhibited in the Saatchi Gallery, the pieces remain a constant focus of argument as critics discuss whether they can truly be called art.Key artists include Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Jenny Saville, Sarah Lucas, Marc Quinn, Gary Hume and Richard Billingham
Damien Hirst
Tracey Emin 'My Bed' 1998
Jake and Dinos Chapman have chosen to create a game played by post-apocalyptic adolescents; one side white with blonde styled haircuts, the other black with afro hair, and complete with its own handcrafted wooden games box, and board inlaid with double-headed skull and crossbones
'For the love of God' by Damien Hirst Water Painting, 1999, Tate Collection ,by Gary Stewart Hume jenny saville